Posts Tagged ‘Whit Adamson’

The Performance Rights Act (PRA) has been a frequent topic here on the Radio 2020 blog ever since its inception, and with good reason. The legislation as it stands could have massive negative repercussions for the radio industry at all levels. Among other things, the new royalty structure will almost certainly result in the labels revisiting their contracts with artists if it passes — not something many have considered. This is only one of many ramifications that will rear their ugly heads if the PRA gets passed.

Let’s take a quick trip in a time machine and revisit my prior postings on the subject. For the benefit of our readers, here is a nice array of data on the subject. These posts range from October 2009 to the present and are presented oldest to newest in this list.

Local Radio Freeedom Act: You’ve Got Mail! – A letter to the Senate Majority and Minority leaders supporting radio by Sens. Blanche Lincoln (D-AR) and John Barrasso (R-WY), co-sponsors of the Senate version of the Local Radio Freedom Act (LRFA)

The Performance Rights Act: Endangering Diversity -The Media Institute, a nonprofit research foundation focusing on communications-oriented policy issues, has released a report in which they set forth their opposition to the Performance Rights Act (PRA).

Stop The Radio Tax! – In which I catalogue the online resources made available by our sponsors over at the NAB. There are some good tools, including efforts on Twitter and Facebook.

Chris Brown Sings the No Airplay Blues – As the RIAA decries the validity of radio’s promotional value, recording artist Chris Brown records an online audio plea to his fans to call radio stations and ask for his songs.

Performance Rights Act: Civil Rights Leaders Weigh In – Opponents of the PRA include civil rights luminaries such as the Rev. Al Sharpton, Dick Gregory, and Tom Joyner. In addition, 15 members of the Congressional Black Caucus have also expressed their concerns, including Elijah Cummings, Danny Davis, Al Green, John Lewis, Charlie Rangel, and Bobby Rush.

Performance Rights Act, A New Wrinkle – In which I offer commentary on the ripple effect of this legislation, particularly the renegotiating of artists contracts that I spoke of in my opening.

The Performance Rights Act is a very serious issue and it could still go one way or the other, so please educate yourself on the subject. Make an informed decision and let your Representative know your views!

Hello, all. Sorry to be back online a day or two late. I got stuck with a pretty severe case of the flu which has kept me from being able to write. Now that I am back, I’d like to steer your attention to the great state of Tennessee, home of that country music powerhouse Nashville!

Being an epicenter of the music industry, Nashville has a lot on the line in the current battle over the Performance Rights Act (PRA). Whit Adamson, President of the Tennessee Association of Broadcasters, feels strongly enough about the subject that he addressed the issue and the public directly in the pages of The Tennessean:

For over 80 years, radio broadcasters have had a mutually beneficial relationship: free radio airplay of music by over-the-air broadcasters, which in turn promotes record labels and artists and generates millions of dollars in music, hospitality, small-business and merchandise sales. Yes, the Grammy Awards and other single night ceremonies like the Country Music Awards are terrific showcases for Nashville’s music. But let’s not forget that all over America, local radio stations do this every single day!

Free, local radio reaches 236 million listeners every week — which vastly dwarfs the promotional value of artist airplay on all of the other music platforms like satellite radio, Internet radio and other subscription-based radio that pay this fee.

And it is usually at about this point in the discussion that those supporting the PRA point out what they consider the glaring inequity of broadcast not having to pay. An argument, like many of those on the other side of the fence, that means little due to its skewed presentation. Radio does indeed pay, just not this additional burdensome fee being proposed by the labels. Adamson continues:

It’s important to note that our radio stations currently pay hundreds of millions of dollars annually to groups like BMI, ASCAP and SESAC, which goes to compensate songwriters and Nashville music publishers. We recognize that songwriters have less opportunity to monetize their work than do the performing artists.

There lies an important and often ignored distinction. Radio has always supported songwriters and publishers, the people who create the music (sometimes the same people as those performing it, but far from always). Performers have concert receipts to generate income, as well as other avenues such as merchandising. The songwriters, not always as much. While the singer/songwriter is an American icon, a quick check of the liner notes on most CDs will show that it is not by any stretch the majority.

Adamson loses with the following abjuration, one with which I agree:

For the sake of our region and the future of music, we should not risk the viability of free and local radio stations that have been such a huge economic engine for Nashville over the decades.